"Peter Boal" is artistic director of Pacific Northwest Ballet and director of Pacific Northwest Ballet School/its affiliated school in Seattle, Washington. He was born in Bedford (town), New York/Bedford, New York, in 1965 and began studies at the School of American Ballet (SAB) at age nine.

Boal assumed the directorship of Pacific Northwest Ballet in 2005 (from Kent Stowell and Francia Russell) following a successful career with the New York City Ballet (NYCB) which he joined in 1983 and where he was promoted to soloist (ballet)/soloist in 1987, principal dancer in 1989, and from which he retired in 2005. He received his dance training from SAB under the directorship of George Balanchine.

In 2002, he founded Peter Boal and Company, a critically acclaimed chamber ensemble. Boal joined the faculty of SAB in 1997, teaching technique, variations, men’s and women’s classes, and partnering. He was a guest teacher at the Central Pennsylvania Youth Ballet and the Royal Danish Ballet's school.

Peter Boal gave his final performance at City Ballet on Sunday, June 5, 2005. On a program that also included Robbins’ West Side Story Suite and Balanchine’s Agon (ballet)/Agon, he chose to dance Jerome Robbins’ Opus 19/The Dreamer and an excerpt from Apollo (ballet)/Apollo, a role for which he was particularly noted.

More Peter Boal on Wikipedia.

They were impressed because during the interview process he wanted to spend a lot of time with them. He made us feel good about the company and our work. But he wants to challenge them, too -- everyone in fact.

Sometimes it's like you throw all the pieces up in the air, and this program just landed in the right place. These four works are going to complement each other beautifully.

The big thing about the season is the festival. I'm excited because it's going to include many parts of the community, for example Donald Byrd's Spectrum Dance, and Oregon Ballet Theater.

I want to offer the newest and the cutting edge, ... and I want to keep a warm relationship with tradition.

This man lived to the fullest, through dance and through choreography, it's almost as if he lived to such an extent that his life span couldn't be as long as everyone else's. He would ask us to run through 'Red Angels' three times in an hour ... he was just enjoying the effect of his creation.